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DR2 The missing link for testing Digital Audio Why a DR2? – we have a CD Flexible signal generation Calibrated & adjustable outputs Supporting all common sampling rates Synchronization to master clocks ….. Topics covered in this workshop Synchronization, Sampling frequency accuracy

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Slide1 l.jpg

DR2

The missing link for testing Digital Audio


Why a dr2 we have a cd l.jpg
Why a DR2? – we have a CD

  • Flexible signal generation

  • Calibrated & adjustable outputs

  • Supporting all common sampling rates

  • Synchronization to master clocks

  • …..

DR2 Introduction and workshop


Topics covered in this workshop l.jpg
Topics covered in this workshop

  • Synchronization, Sampling frequency accuracy

  • Delay Measurements

  • Transparency measurements

  • Multi-channel surround formats

  • Surround sound system set-up procedure

DR2 Introduction and workshop


Overview dr2 l.jpg
Overview DR2

  • AES3, AES3id,S/PDIF, TOS-Link outputs

  • Sampling rates: 32kHz …192kHz

  • Consumer / PRO status generation

  • Flexible synchronization to external clocks

  • Versatile signal generation

    • Generated signals (Sine, Noise, etc.)

    • 2-CH linear PCM wave files (tunes, monitoring signals, music etc.)

    • Non-linear multi-channel Audio (Dolby, DTS)

  • Measuring I/O delay (latency)

  • Measuring channel bit transparency

DR2 Introduction and workshop


Digital output formats l.jpg
Digital Output Formats

* 1V for AES-3 id is slightly above specifications but is a valuable compromise for having AES-3 id signals without an external transformer.

DR2 Introduction and workshop


Standard set l.jpg
Standard set

Extended set

 All signals on supplied DVD disk.Mix your preferred test signals depending on your applications

DR2 Introduction and workshop


Synchronization l.jpg
Synchronization

DR2 Introduction and workshop


Synchronizing the dr2 l.jpg
Synchronizing the DR2

  • Multi Format SYNC Input (XLR)

  • Adapter for BNC included

  • Sync’s to:

    • AES3 digital Audio (110 Ω)

    • DARS (dedicated empty AES3 signal)

    • Word Clock (sync only)

    • Video Black Burst PAL

    • Video Black burst NTSC

  • Input impedance switchable between 75 Ω, 110 Ω and High Z.

DR2 Introduction and workshop


Synchronizing the dr29 l.jpg
Synchronizing the DR2

 Demo: Sync to DR2, DVD players and AV Receiver

DR2 Introduction and workshop


Delay measurements l.jpg
Delay measurements

DR2 Introduction and workshop


How do we measure delays l.jpg

How much Delay?

Constant?

How much Delay?

Constant?

A / D

t

t

D / A

How do we measure delays?

?

Digital In

Digital Out

 Demo: Measure Delays with M350 effects processor

DR2 Introduction and workshop


Surround sound issues l.jpg
Surround sound issues

DR2 Introduction and workshop


Non linear pcm signals l.jpg
Non-linear PCM Signals

  • The AES 3 frame acts as a carrier and the audio samples are replaced by multi-channel Audio packages.

  • A standard converter cannot interpret the PCM signals. The stream must be coded as NON-LIN PCM in the status

 Demo: Listen to a Dolby Surround signal with DL1

DR2 Introduction and workshop


Terms of multichannel audio l.jpg
Terms of Multichannel Audio

  • Mono = 1 Source only

  • Stereo = Binaural (2 speakers, named 2.0)

  • Multichannel = anything beyond 2 channel

  • LFE = Low frequency & effects channel

5.1

Number of LFE channels

Number of full Audio channels

DR2 Introduction and workshop


Common coding formats l.jpg
Common Coding formats

DR2 Introduction and workshop


New coding formats l.jpg
New Coding formats

DR2 Introduction and workshop


Lfe side notes l.jpg
LFE Side notes

  • LFE = Low Frequency Effects

  • Comes from the cinema world with its rumbling bomb explosions and dinosaur stomps

  • LFE was never intended to be used for music – just for low frequency sound effects.

  • Use LFE only with outmost caution for music.

  • When down mixing 5.1 surround to stereo (2.0) or mono (1.0), most surround receivers simply leave out the LFE channel to protect the mostly smaller speakers of such systems.

  • Adjust Broadcast material to listen 6dB below Movie mixes!

 Read “5.1-Channel Music Production Guidelines” from Dolby

DR2 Introduction and workshop


Speaker seating positions l.jpg

Reference listening pos.

C

L

R

D=W

30°

110°

LS

RS

W

BS

Speaker / seating positions

Ref. ITU-R BS 775-1

Worst case listening pos.

DR2 Introduction and workshop


Speaker alignment l.jpg
Speaker Alignment

  • Arrange speakers along the perimeter of a circle.

  • Speakers outside the circle possibly have to be compensated for delay

  • Adjust height to be at or slightly above listeners ears

  • Speakers shall be of the same type

  • Subwoofer receives effects and possible summed low frequency Audio

  • All main channels run at the same SPL. (+-0.5dB, measured C-wtd)

  • LFE is set 10 dB higher. (measured with RTA)

DR2 Introduction and workshop


Leveling lfe speakers l.jpg
Leveling LFE / speakers

Some decoders fixedly raise LFE level by 10dB, others don’t

DR2 Introduction and workshop


Adjusting a surround sound syst l.jpg
Adjusting a Surround Sound Syst.

  • Design the room

  • Design the required power and system to meet expectations

  • Use default / Self configuration set-ups

  • Verify and tune these set-up

  • Listen to different EQ settings

DR2 Introduction and workshop


What to adjust in the setup l.jpg
What to adjust in the setup?

  • Frequency responses at different listening positions

  • LFE levels

  • Delays (phase)

  • Absolute levels of each channel

  • Crossovers (what goes to center or LFE?)

DR2 Introduction and workshop


How to set it up l.jpg
How to set it up?

Various strategies are available depending on tools.

  • No set-up – just run it

  • Tune it by ear.

  • Manual Measurements

  • Audyssey (Automatic approach)

DR2 Introduction and workshop


Audyssey technology l.jpg

Implemented in

Audyssey Technology

  • Loudness correction technology that adopts to listening levels.

  • Equalization method for room corrections in

    • Frequency domain (EQ)

    • Time domain (Delay)

  • Implemented in decent quality surround system

  • How it works:

    • Looks at patterns in the time domain responses and them into 3-5 groups.

    • Response is created from each cluster

    • Final response is then created from grouping the representatives.

    • That response is then used to create the EQ filters.

  • Requires processing power

 Verify your settings

DR2 Introduction and workshop


Our set up l.jpg
Our set-up

EV SX80

JBL Control 1

JBL Control 1

DR2

Denon AVR2308

Optical TOS-Link

JVC HiFi

JVC HiFi

DR2 Introduction and workshop


Measurements of audyssey performance l.jpg

RS

LS

C

R

L

> File: A017_SPL_RTA

> SPL_RTA_octave

> Timer mode: off

> Timer set: --:--:--

> Timer act: 00:00:21

> RTA filter: Flat

> Time weight: fast

> Range: 20 dB - 100 dB

> Mic sensitivity: 30.26 mV/Pa

Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB]

C-WTD 65.2 65.3 64.5 66.6

31.5 36.0 37.3 24.5 50.0

63.0 39.8 38.3 27.9 54.9

125.0 53.9 55.8 48.8 58.9

250.0 57.8 59.1 53.9 61.7

500.0 58.1 57.8 55.0 60.5

1000.0 58.8 58.1 56.5 61.2

2000.0 56.6 56.8 55.0 58.4

4000.0 57.2 56.7 56.1 58.3

8000.0 53.9 54.0 53.1 54.7

16000.0 50.2 50.1 49.7 50.8

> File: A017_SPL_RTA

> SPL_RTA_octave

> Timer mode: off

> Timer set: --:--:--

> Timer act: 00:00:21

> RTA filter: Flat

> Time weight: fast

> Range: 20 dB - 100 dB

> Mic sensitivity: 30.26 mV/Pa

Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB]

C-WTD 65.2 65.3 64.5 66.6

31.5 36.0 37.3 24.5 50.0

63.0 39.8 38.3 27.9 54.9

125.0 53.9 55.8 48.8 58.9

250.0 57.8 59.1 53.9 61.7

500.0 58.1 57.8 55.0 60.5

1000.0 58.8 58.1 56.5 61.2

2000.0 56.6 56.8 55.0 58.4

4000.0 57.2 56.7 56.1 58.3

8000.0 53.9 54.0 53.1 54.7

16000.0 50.2 50.1 49.7 50.8

> File: A017_SPL_RTA

> SPL_RTA_octave

> Timer mode: off

> Timer set: --:--:--

> Timer act: 00:00:21

> RTA filter: Flat

> Time weight: fast

> Range: 20 dB - 100 dB

> Mic sensitivity: 30.26 mV/Pa

Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB]

C-WTD 65.2 65.3 64.5 66.6

31.5 36.0 37.3 24.5 50.0

63.0 39.8 38.3 27.9 54.9

125.0 53.9 55.8 48.8 58.9

250.0 57.8 59.1 53.9 61.7

500.0 58.1 57.8 55.0 60.5

1000.0 58.8 58.1 56.5 61.2

2000.0 56.6 56.8 55.0 58.4

4000.0 57.2 56.7 56.1 58.3

8000.0 53.9 54.0 53.1 54.7

16000.0 50.2 50.1 49.7 50.8

> File: A017_SPL_RTA

> SPL_RTA_octave

> Timer mode: off

> Timer set: --:--:--

> Timer act: 00:00:21

> RTA filter: Flat

> Time weight: fast

> Range: 20 dB - 100 dB

> Mic sensitivity: 30.26 mV/Pa

Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB]

C-WTD 65.2 65.3 64.5 66.6

31.5 36.0 37.3 24.5 50.0

63.0 39.8 38.3 27.9 54.9

125.0 53.9 55.8 48.8 58.9

250.0 57.8 59.1 53.9 61.7

500.0 58.1 57.8 55.0 60.5

1000.0 58.8 58.1 56.5 61.2

2000.0 56.6 56.8 55.0 58.4

4000.0 57.2 56.7 56.1 58.3

8000.0 53.9 54.0 53.1 54.7

16000.0 50.2 50.1 49.7 50.8

> File: A017_SPL_RTA

> SPL_RTA_octave

> Timer mode: single

> Timer set: 00:00:30

> Timer act: 00:00:30

> RTA filter: Flat

> Time weight: fast

> Range: 20 dB - 100 dB

> Mic sensitivity: 30.26 mV/Pa

Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB]

C-WTD 65.2 65.3 64.5 66.6

31.5 36.0 37.3 24.5 50.0

63.0 39.8 38.3 27.9 54.9

125.0 53.9 55.8 48.8 58.9

250.0 57.8 59.1 53.9 61.7

500.0 58.1 57.8 55.0 60.5

1000.0 58.8 58.1 56.5 61.2

2000.0 56.6 56.8 55.0 58.4

4000.0 57.2 56.7 56.1 58.3

8000.0 53.9 54.0 53.1 54.7

16000.0 50.2 50.1 49.7 50.8

Copy & paste

Measurements of Audyssey performance

DR2 Introduction and workshop


Magnitude response @ 0db l.jpg
Magnitude Response @ 0dB

DR2 Introduction and workshop


Magnitude response @ 20db l.jpg
Magnitude Response @ -20dB

DR2 Introduction and workshop


Magnitude @ seating positions l.jpg

2

3

1

4

5

6

Magnitude @ seating positions

DR2 Introduction and workshop


Workshop setup l.jpg
Workshop setup

Mission MH6

Mission M34i

Mission M34i

DR2

Mission M3as

Denon AVR2308

Optical TOS-Link

Mission M34i

Mission M34i

DR2 Introduction and workshop


Demo of pro logic ii decoder l.jpg
Demo of Pro-Logic II Decoder

  • Pro-Logic II is a linear coded signal. Thus the files are in the FILE chapter.

  • It is a matrix coded signal. Codes are in the channel phases.

  • There are limitations of the encoders. Thus do not use Sine signals for T&M purposes.

 Demo with 2-CH signal into a PRO-Logic II coder

 Listen to SINE_400 or SINE_1k of ProLogic II files.

DR2 Introduction and workshop


Digital audio set l.jpg
Digital Audio Set

  • Digirator DR2

  • Digilyzer DL1 with MiniLINK

  • Mains Power Adapter DR2

  • Mains Power Adapter DL1

  • DR2 Transformers AES3id

  • DL1 Transformers AES3id

  • Minstruments Case


Slide33 l.jpg

DR2

Thank you!